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		<p class="HDLeft Bold">Josh&nbsp;Kjenner</p>
		
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		<p class="HDRight">Edmonton AB<?php include './php/jk_weather.php'; ?> </p>
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					<h1>Dump Baths</h1>
					<h2>Academic</h2>
					<h2>Instructor: Blair Satterfield</h2>
					<h2>2013</h2>
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				<p>A building of dignity in a landscape of detritus. A spot of purity stuck in a mound of filth.  A place where yesterday's remnants are made into todays' experiences, where society's excess is made manifest. A baths in the dump, where the dump is put into the bath.</p>
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				<p>The Dump Baths is a public baths. It is a series of experiences, structured according to the traditional Roman bath sequence: pools of increasing temperature, followed by sauna, massage, and rest. Each experience is derived from the landfill in which the baths sit or from the bog to which it is adjacent, rooting the baths in its site and investing it with a distinct particularity.</p>
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				<p>It strives for a monumentality equal to its surroundings. It sits at the tailpipe of a consumerist society, and endeavors to address it in a way that makes it place to be remembered instead of forgotten.</p>
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				<p class="Bold">Credits</p>
				<br/>
				<p>This project was a collaboration with Kristen Dyck. The below images were produced jointly, with my effort primarily focusing on the renderings and diagrams. 
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				<p class="Bold">Awards</p>
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				<p>This project was exhibited as part of SALA Projects _ 2013 (April 27–May 10, 2013) where it was awarded Best of Studio. 
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				<p>As per the studio brief, the Dump Baths are sited on Vancouver’s primary landfill, located in the suburb of Delta adjacent to <a href="http://en.wikipedia.org/wiki/Burns_Bog">Burns Bog</a>. The project endeavours to use the site’s strong particularity to create a set of unique experiences, and to directly address its monumentality with a dignity appropriate for a public institution such as a bath.</p> 
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				<p>	The Dump Baths are a byproduct, a productive squandering of energy produced from the landfill gas produced on site that is currently flared.</p>
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				<p>The project proposes that these gases instead be fed into a cogeneration plant to produce electricity for the grid. A relatively enormous amount of heat results from this process, of which the project, despite its best efforts, uses only a fraction. The Dump Baths’ excessive use of heat—it’s expansive radiant surfaces, and massive hot pool—imbue it with a powerful particularity that ties the project inextricably to its site. Byproducts of the landfill gas (separated prior to combustion to prevent trace elements in the landfill gas from polluting the atmosphere) and elements from the bog further enhance the link between project and site. </p>
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				<p>Precast, post-tensioned beams hover immutably above the entirety of the baths. These beams are composed of 6 metre sections assembled into 36 metre lengths, which facilitate shipping and allow sections to be reversed to modulate the light admitted below.</p>
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				<p>The profile of the beams largely shades the baths from direct sunlight and facilitates the collection of rainwater. This rainwater is made performative, animating the indirect light reflected into the project and providing an aural accompaniment to the massages adjacent to the open cistern it is trickled into.</p>
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				<p>Ceiling heights are modulated by varying the depth of excavation, the ceiling remaining constant. The project becomes a topography, modulated in a way that conforms with barrier-free regulations which are embraced as a generative constraint. </p>
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				<p>The project’s detailing emphasizes the weight of its concrete construction by applying services, glazing and the like to the exterior of these constructions. </p>
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				<p>Ramp to entrance</p>
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				<p>View from cafe to admissions area</p>
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				<p>Carbon dioxide (cold) pool</p>
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				<p>Sulphur (tepid) pool</p>
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				<p>Bog water (hot) pool</p>
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				<p>Roof</p>
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					<h2>close</h2>	
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					<h1>Work Camp 2.0</h1>
					<h2>Academic</h2>
					<h2>Instructor: Chris MacDonald</h2>
					<h2>2012</h2>
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				<p>Despite decades of hand-wringing, Canadians remain for the most part <a href="http://en.wikipedia.org/wiki/Harold_Innis_and_the_fur_trade">hewers of wood and drawers of water</a>. One of the instruments of Canada’s resource-based economy is the remote work camp: a mode of settlement, provided by corporations to house the workers required to extract the resources that, more often than not, are located far away from centres of population.</p>
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				<p>Conducted in collaboration with <a href="http://www.cannondesign.com/">Cannon Design</a>’s Vancouver office, and prompted by their invitation by an unnamed energy company to a closed competition, this studio project aims to rethink the remote work camp.</p>
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				<p class="Bold">Credits</p>
				<br/>
				<p>This project was a collaboration with Adam Moussa, Ben Slocombe, and Katrina Szekely. I produced all of the below images, with the exception of the site map and second rendering, which were produced jointly with Katrina Szekely. The model pictured below was completed with Ben Slocombe.</p>
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				<p><span class="Small">image credit: <a href="http://www.flickr.com/photos/80365963@N00">Jason Woodhead</a></span></p>
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				<p>	Design of the remote work camp has heretofore been treated as an exercise in economic rationalization. Modular trailers containing residential units are aggregated as efficiently as possible: stacked and arranged in rows that branch from a central corridor that links them to a central cafeteria and the camp’s other amenities (TV lounge, fitness facilities, etc.). The surrounding site is most often leveled and fenced and thus inhospitable to residents. Many residents suggest these camps are as pleasant to live in as one would expect.</p> 
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				<p>This project is founded on the premise that as a mode of settlement, the remote work camp is distinguished by the extent to which its residents’ living conditions are prescribed. This control is explicit and implicit, operational and architectural. A resident will eat at the same place every day, and have precisely one way to get their from his or her room. The room itself is precisely the same as all others in the camp, its view, its furniture, its separation from the hallway all determined and regularized. The work camp makes these sorts of decisions on behalf of its residents.</p>
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				<p>This project aims to use architecture to transfer to residents autonomy over the means of living.</p>
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				<p>This project was given a hypothetical site in the Canadian North, where most remote work camps are located. The building is situated on a south-facing slope in the southeastern extremity of Yukon, in a zone of transition between the Rocky Mountains and the boreal forest.</p>
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				<p>	The project draws a distinction between program elements that must be centralized (e.g. large gymnasium, centralized cooking facilities) and that which can be distributed (e.g. residential units, recreation lounges, “satellite” restaurants). Distributed program is organized into “blocks,” each of which is made unique to produce distinct identities, experiences, and an incentive for moving between them.</p>
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				<p>Centralized program elements form the basis of more public spaces at the junction of blocks. Circulation enriched with injections of outdoor space link everything together.</p>
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				<p></p>
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				<p>A modular system is employed to efficiently create a large variety of residential units, enrich the spatial experience of circulation in the blocks, and allow for flexibility as the camp’s usage changes over time.</p>
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				<p>A series of prefabricated modules house residential services (e.g. closets, bathrooms, desks, beds, etc.).</p>
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				<p>These modules are organized into service bars on a grid that stands off the structural grid.</p>
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				<p>The result is rooms of varying dimension and character. Adjustable louvers demarcate the room from the corridor, smoothing the rigid separation of public and private the characterizes the conventional work camp.</p>
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				<p>Apertures are tailored to reflect the dimension and character of the residential spaces within, imprinting the building’s organization on its facade like a genetic code.</p>
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				<p>The varying dimension of units is manipulated to enhance the spatial variety of the corridor, which variously narrows and widens to accommodate social programs (kitchens, laundry rooms, lounges).</p>
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				<p>In this way, complexity is created without vastly increasing the amount of exterior surface area (and, with it, energy use and construction cost).</p>
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				<p>Sectional complexity is created by exploiting the site’s slope, which vastly multiplies the number of paths between any two of the project’s distributed destinations. </p>
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				<p>View of entrance.</p>
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				<p>View from southeast.</p>
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				<p>View from west</p>
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				<p>View from southwest</p>
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					<h2>close</h2>	
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					<h1>The Soufflé</h1>
					<h2>Academic</h2>
					<h2>Instructor: Bill Pechet</h2>
					<h2>2012</h2>
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				<p>The intent of this studio project was to convert a electrical substation located on a pier in North Vancouver into a bar or cafe. This concrete box is one of the last vestiges of the dock's shipbuilding past, located on the frontier of deindustrialization slowly but steadily creeping eastward across North Vancouver's waterfront. In its wake a series of condominium developments, well-designed pedestrian pathways, and shops (the new Vancouver) have appeared; this project is meant to compliment this development.</p>
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				<p>This project proposes to leave the existing building's concrete shell almost entirely intact, but puncture its roof. This concrete box then becomes a container from which a translucent, bulbous volume emerges, in the way a soufflé rises from a ramekin.</p> 
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				<p>A dance floor is located within this new volume, broadcasting the activity within onto the physical and mental landscape of Vancouver.</p>
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				<p>The revelry contained within the building's diaphanous top is projected onto the building's surface and beyond, like a lighthouse intended to steer the ships of Vancouver's partiers into their port of call.</p>
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				<p>It is seen from the Seabus and Esplanade Ave, and in the Instagrams and mobile uploads of curious onlookers drawn, moth-like, to its glowing pink light.</p>
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				<p>Entering the Soufflé only heightens the desire to get up to its top. Undulating shadows filter through the translucent dance floor down to bar, enticing one upward.</p>
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				<p>Catharsis only comes when one ascends to the dance floor and submits to bacchanalia's warm embrace.</p>
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					<h2>close</h2>	
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					<h1>Warming hut for Grouse Mountain</h1>
					<h2>Academic</h2>
					<h2>Instructor: Bill Pechet</h2>
					<h2>2012</h2>
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				<p>	Grouse Mountain, overlooking greater Vancouver from its perch immediately north of the city, is a big part of the reason Vancouverites are able to boast, as they tend to do, about being able to ski and swim in the same day. It is used year-round, for skiing, snowshoeing, skating, and hiking. The objective of this studio project was to design a hut for the users of the mountain's hiking/snowshoeing trails. The hut was to be constructed of wood, and equipped with a means of warming drinks for winter visitors. The precise location of each project's site was left to the discretion of the project's designer.</p>
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				<p>Grouse Mountain is also quite frequently foggy, as the photos from our site visit show.</p>
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				<p>This project is sited in a relatively flat clearing at the base of the trail that links the summit of Grouse Mountain to that of the adjacent Dam Mountain.</p>
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				<p>The site was chosen for its relative isolation, and because it is one of the few places on Grouse Mountain without a view. The warming hut is intended to be a refuge, not only from the weather but from the scale and and sensory onslaught of Grouse Mountain.</p>
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				<p>The hut is almost exclusively constructed of dimensional lumber, oriented along it's longitudinal axis. The wood forming the wall adjacent to the hut's entrance is not fastened, simply piled&mdash;allowing visitors to dismantle it, piece by piece, and feed what they take to the hut's wood stove.</p>
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				<p>The hut's woodpile wall is restocked each fall with 2X4 offcuts. Visitors to the hut take wood from this pile as needed to feed the hut's wood stove, gradually depleting the woodpile over the course of the warming season...</p>
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				<p>... leaving a visual record of the aggregate decisions these users made to alter the building.</p>
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				<p>The woodpile is sized so that the barrier it forms with the outside environment begins to become compromised as the warming season draws to a close. During the summer, the remnants of the pile are cleared and replaced with a picnic table, sheltered from the rain and ideal for a picnic.</p>
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				<p>The hut's form derives from a simple A-frame, rotated about one its corners to allow sufficient height for sitting on one side, and entry on the other.</p>
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				<p>Its walls and roof are constructed of longitudinally-oriented dimension lumber. They are formally identical to the material in the woodpile, which is intended to heighten the sensation of autonomy visitors derive from taking, and then burning, pieces of one the project's walls.</p>
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				<h1>About</h1>
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				<p>I am a professional engineer and architecture student from Edmonton, Alberta.</p> 
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				<p>As per the aphorism, I'm attempting to go from failure to failure without losing my enthusiasm. So far so good.</p>
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